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FREE PUBLIC EXHIBITION 


COMMENCING SATURDAY - JANUARY 2, 1926 

AND CONTINUING UNTIL TIME OF SALE 

WEEKDAYS FROM 9 A.M. TO 6 P.M. + SUNDAY 
JANUARY 3 FROM 2 TO 5 P.M. 


UNRESTRICTED PUBLIC SALE 


FRIDAY EVENING, JANUARY 8, 1926 
BEGINNING AT 8:30 O’CLOCK 


EXHIBITION AND SALE AT THE 
eAMERICAN cART GALLERIES 


Madison Avenue « 56th to 57th Street» New York 


Under the Management of the 
AMERICAN ART ASSOCIATION - INC: 


Sales Conducted by Messrs. 
O- BERNET AND H: H: PARKE 


COPIES 


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FAMOUS MASTERPIECES 


OF THE FRENCH ~ DUTCH 
AND ENGLISH SCHOOLS 


THE COLLECTION OF 
CK ~G-~ BILLINGS - ESO. 


From Fort Tryon Fall 
Neew York 


AMERICAN ART ASSOCIATION: INC. 
New York + 1926 


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CONDITIONS OF SALE 


I. REJECTION OF BIDS: Any bid which is not commensurate with the value 
of the article offered, or which is merely a nominal or fractional advance, may be 
rejected by the auctioneer if in his judgment such bid would be likely to affect the 
sale injuriously. 

I. THE BUYER: The highest bidder shall be the buyer, and if any dispute 
arises between two or more bidders, the auctioneer shall either decide the same or 
put up for re-sale the lot so in dispute. 

III. IDENTIFICATION AND DEPOSIT BY BUYER: The name of the buyer of 
each lot shall be given immediately on the sale thereof, and when so required, each 
buyer shall sign a card giving the lot number, amount for which sold, and his or 
her name and address, 

A deposit at the actual time of the sale shall be made of all or such part of 
the purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot or lots so pur- 
chased may at the option of the auctioneer be put up again and re-sold. 

IV. RISK AFTER PURCHASE: Title passes upon the fall of the auctioneer’s 
hammer, and thereafter the property is at the purchaser’s risk, and neither the con- 
signor nor the Association is responsible for the loss of, or any damage to any 
article by theft, fire, breakage, however occasioned, or any other cause whatsoever. 

V. DELIVERY OF PURCHASES: Delivery of any purchases will be made 
only upon payment of the total amount due for all purchases at the sale. 

VI. RECEIPTED BILLS: Goods will only be delivered on presentation of a 
receipted bill. A receipted bill presented by any person will be recognized and 
honored as an order by the buyer, directing the delivery to the bearer of the goods 
described thereon. If a receipted bill is lost before delivery of the property has 
been taken, the buyer should immediately notify the Association of such loss. 

VII. STORAGE IN DEFAULT OF PROMPT PAYMENT AND CALLING FOR 
GOODS: Articles not paid for in full and not called for by the purchaser or agent 
by noon of the day following that of the sale may be turned over by the Associa- 
tion to some carter to be carried to and stored in some warehouse until the time 
of the delivery therefrom to the purchaser, and the cost of such cartage and stor- 
age and any other charges will be charged against the purchaser and the risk of 
loss or damage occasioned by such removal or storage will be upon the purchaser. 

In any instance where the purchase bill has not been paid in full by noon of 
the day following that of the sale, the Association and the auctioneer reserve the 
right, any other stipulation in these conditions of sale notwithstanding, in respect 
to any or all lots included in the purchase bill, at its or his option, either to cancel 
the sale thereof or to re-sell the same at public or private sale without further no- 
tice for the account of the buyer and to hold the buyer responsible for any de- 
ficiency and all losses and expenses sustained in so doing. 

VIII. SHIPPING: Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, but the Association will, however, 
afford to purchasers every facility for employing at current and reasonable rates 


carriers and packers; doing so, however, without any assumption of responsibility 
on its part for the acts and charges of the parties engaged for such service. 


[X. GUARANTY: The Association exercises great care to catalogue every 
lot correctly and endeavors therein and also at the actual time of sale to point out 
any error, defect or imperfection, but guaranty is not made either by the owner 
or the Association of the correctness of the description, genuineness, authenticity 
or condition of any lot and no sale will be set aside on account of any incorrect- 
ness, error of cataloguing or imperfection not noted or pointed out. Every lot is 
sold ‘‘as is” and without recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the 
Association will give consideration to the opinion of any trustworthy expert to 
the effect that any lot has been incorrectly catalogued and in its judgment may 
thereafter sell the lot as catalogued or make mention of the opinion of such ex- 
pert, who thereby will become responsible for such damage as might result were 
his opinion without foundation. 

X. RECORDS: ‘The records of the auctioneer and the Association are in all 
cases to be considered final and the highest bid shall in all cases be accepted by 
both buyer and seller as the value against which all claims for losses or damage 
shall lie. 

XI. BUYING ON ORDER: Buying or bidding by the Association for respon- 
sible parties on orders transmitted to it by mail, telegraph, or telephone, if condi- 
tions permit, will be faithfully attended to without charge or commission. Any 
purchases so made will be subject to the foregoing conditions of sale, except that, 
in the event of a purchase of a lot of one or more books by or for a purchaser who 
has not through himself or his agent been present at the exhibition or sale, the 
Association will permit such lot to be returned within ten days from the date of 
sale, and the purchase money will be refunded, if the lot differs from its catalogue 
description. 

Orders for execution by the Association should be given with such clearness 
as to leave no room for misunderstanding. Not only should the lot number be 
given, but also the title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is un- 
known to the Association, a deposit must be sent or reference submitted. Shipping 
directions should also be given. 

PRICED CATALOGUES: Priced copies of the catalogue, or any session there- 
of, will be furnished by the Association at charges commensurate with the duties 
involved in copying the necessary information from the records of the Association. 

These conditions of sale cannot be altered except by the auctioneer or by an 
officer of the Association. 


AMERICAN ART ASSOCIATION, Inc. 


MANAGERS 
OTTO BERNET 


HIRAM H. PARKE 
AUCTIONEERS 


INTRODUCTION 


A FOREWORD 


T has been a number of years since New York has been introduced to such 

a collection of masterpieces of French painting, with kindred paintings by 

the British landscapists, Dutch marine artists and cattle painters, as is the 

C. K. G. Billings collection now presented by the American Art Association 

for public competition. It is a fresh reminder of the days and evenings at 

the American Art Galleries in Madison Square, at Chickering Hall, at Men- 

delssohn Hall—both those renowned old halls have passed out of the city life— 

at the Waldorf Astoria, which exists today as the American Art Association exists, 

in life ever renewed, ever renewing. But there is a difference in that neither 

New Yorkers nor Americans in general will be so likely to have things their own 

way with this Billings sale, for more than ever New York has become the world’s 

mart for the fine things of artistic production, and some of the Billings canvases 

are more likely to go abroad than to be retained here. The European collectors 
and dealers know them, and are keeping track of them. 

These paintings from the princely estate which Mr. Billings established at 
Fort Tryon Hall, on Washington Heights—since purchased by Mr. John D. 
Rockefeller jr. and probably eventually to become park property of the city—to- 
gether with a few more recent purchases by Mr. Billings, are to be offered at abso- 
lute unrestricted public sale because Mr. Billings has removed his home to Cali- 
fornia and finds even spacious bungalow life too confined in its surroundings, its 
housings, to afford areas for sympathetic contemplation of his masterpieces. He 
has therefore selected thirty-one of them, the cream and pride of his great collec- 
tion, to be offered once again to the great assemblage of picture lovers who are 
ever on the alert for the finest examples of famous schools of painting. 

One of the greatest and most sincere productions of “Old Crome,” “The Wil- 
low Tree,” from the M. C. D. Borden collection, is here. It was sought for the 
Crome Commemoration only four years ago, held at the painter’s birthplace, 
Norwich, England, in memory of his death in 1821. The National Gallery, of 
London, loaned some of its treasures for the commemorative exhibit, and the Lord 
Mayor of Norwich, Mr. George Green, wrote Mr. Billings as “the fortunate pos- 
sessor” of “one of Crome’s most famous paintings” and asked that “The Willow 
Tree” be loaned for the same occasion. 

Of eight great works by Corot three of the most celebrated are the “Lake 
Nemi” from the sensational sale of ‘Twenty-one Masterpieces owned by the Phila- 
delphia amateur the late H. S. Henry; “La Charrette de Grés” and ”Les Bai- 
gneuses des Iles Borromées.” Another of interest is “Chateau Thierry”—a view 
from the ramparts which Corot painted in 1863 and including the church steeple, 


which the French master, Léon Lhermitte, told Mr. Roland Knoedler in 1920 was 
untouched by the Great War, adding that he remembered Corot painting the pic- 
ture, as it was then he first made the acquaintance of “Pére Corot.” 

Both these Corots, and others of the collection, are reproduced in the monu- 
mental publication on Corot’s work by Alfred Robaut and Moreau-Nelaton. 
Moreover, the provenience of all of Mr. Billings’ paintings is recorded in the 
catalogue, a record too seldom attained in these later days of haste and insufficient 
observation. 

A noteworthy canvas, even in this notable collection, is a remarkably forceful 
Millet, “Haystacks,” which, as the catalogue will show, has a particularly clear 
history from the time it left the artist’s hands. 

Not to be wearisome by repetition mention will only be made here of the out- 
standing “Gleaners, prés des Meules,” by Lhermitte; a wonderful Israéls, “Good 
Comrades,” Millet’s equally strong “Retreat from the Storm”; Rousseau’s re- 
markable “Bosquet d’Arbres”; Daubigny’s “La Saulaie”; Troyon’s “La Char- 
rette de Foin”; which with the other notable paintings will all repay study. 


DANA H. CARROLL 
NEw York, November, 1925 


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CATALOGUE NUMBER ONE 
A HALT IN WALLACHIA 


By ADOLPH SCHREYER 
GERMAN: 1828—1899 


ADOLPH SCHREYER 


GERMAN: 1828—1899 


- A HALT IN WALLACHIA 


Snow is scattered over the level country and glistens on the thatched roof of 
a cheerless hut which occupies the left of the foreground. Before the closed 
door, as if trying to open it, stands a Wallachian horseman, holding the bridle of 
his mount, a white horse, with greenish-blue saddle-cloth showing under the 
saddle’s sheepskin covering. Just back of this horse is a black one with pack 
saddle; while a little to the right is the man’s companion, still in the saddle, with 
his pack horse beside him. A little black dog is seated with his back to the spec- 
tator, watching the door. In the near distance on the right, seen through the 
misty atmosphere, appears a long, low-pitched roof with two wooden chimneys. 


Height, 17% inches; length, 30 inches 


Signed at the lower left, AD. SCHREYER 
Purchased from the late HERMANN SCHAUS 


CATALOGUE NUMBER ONE 


JEAN FRANCOIS MILLET 


FRENCH: 1814—1875 


THE RETREAT FROM THE STORM 


A peasant woman and her son, who have been in the forest gathering fag- 
gots, have been caught in the first fierce gusts of a wintry gale, and they fight 
their way homeward against the increasing blast. The mother supports the 
child, who is nearly exhausted in the struggle, by clutching his right arm at the 
elbow. With a sturdy stride the vigorous peasant woman bends her head to the 
gale, holding the faggots in her blue apron, tightly clasping the burden to her 
breast. Her red petticoat is swept across her knees, and a large white shawl en- 
veloping her head floats far behind her in the wind. The light falls strongly upon 
the group from the left, bringing into vigorous relief the flesh and the wind-tossed 
drapery against a lowering sky and sombre landscape. 


Height, 18 inches; width, 15 inches 


Signed at the lower left, J. F. MILLET 3 
Collection of M. Srymore, Paris 
Collection of M. VAarniEr, Rheims 


Collection of the late H. S. Henry, New York, 1907 


CATALOGUE NUMBER TWO 


CATALOGUE NUMBER THREE 
LE MARE AUX CHENES 


By NARCISSE VIRGILE DIAZ DE LA PENA 
FRENCH: 1808—1876 


NARGISSE VIRGILE DIAZ DE LA PENA 


FRENCH: 1808—1876 


LE MARE AUX GHENES 


A landscape of dense foliage on the oak trees, and deep greens on the swampy 
lands of the foreground, which enclose a small pool that reflects the light among 
the encompassing shadows. In the background lies a sunlit field under a sky 
which discloses a shower cloud overhead. On the right, before the oak trees, a 
peasant woman in white and red bends to gather faggots, her figure catching a 
glint of light which is reflected in the dark water below in the foreground. 


Panel: Height, 11% inches, length, 17%4 inches 
Signed at the lower left, N. Diaz 
Collection of E. Grontgr, Paris, 1905 


Collection of GEORGE BLUMENTHAL, New York 


From M. Knorepier & CoMPANY 


CATALOGUE NUMBER THREE 


CATALOGUE NUMBER FOUR 
CHATEAU THIERRY 


By JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


JEAN BAPTISTE CAMILLE COROT 


FRENCH: 1796—1875 


CHATEAU THIERRY 


On the right, the walls of the chateau, along which extends a broad path bor- 
dered by a row of leafless trees, dominate a steep hillside which slopes down on 
the left, where the vista extends over the roofs of houses past a square church 
tower with many windows in a mysterious distance, suggesting a broad wooded 
hillside. The single figure of a peasant woman in a gray dress, with a red ker- 
chief over her head and a white sack thrown over her left shoulder, stands in the 
right foreground leaning upon a stick, and is strongly accentuated by the sunlight, 
which broadly illuminates the landscape, casting deep shadows upon the chateau 
walls, the roofs of the houses, the church tower and along the gravelly path under 
the trees. The sky is completely covered by a veil of soft luminous clouds. 


Height, 13 inches; length, 18 inches 


Signed at the lower left, Corot 

Collection BocaueEt, 1869 

Collection MicuEt-Livy, Paris, 1876 

“T’Exposition des Cent Chefs-d’Qiuvre, Paris,’ 1892, No 49 
Reproduced in Moreau-Nélaton’s work on Corot, 1905 
Collection of H. S. Henry, New York, 1907 


CATALOGUE NUMBER FOUR 


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CATALOGUE NUMBER FIVE 
IN THE FOREST OF FONTAINEBLEAU 


By CHARLES EMILE JACQUE 
FRENCH: 1813—1894 


CHARLES EMILE JACQUE 


FRENCH: I1813—1894 


IN THE FOREST OF FONTAINEBLEAU 


An immense oak tree rises from a knoll in the foreground, and with its tan- 
gled branches and deep foliage covers a large part of the sky and extends out of 
the picture. Broken branches and various scars denote its great age, and its size 
is made apparent by the figure of a child crouching near the trunk, and a flock of 
sheep scattered over the grass nearby. A shaft of sunlight strikes the tree and the 
little knoll, casting a deep shadow on an irregular bank of bushes beyond to the 
left, and over the foreground to the right. In the distance is a flat plain with a 
sunlit hillside in the horizon. The sky is covered with rolling masses of cumuli, 
brilliantly illuminated by the sun behind the oak. 


Height, 31 inches; width, 244% inches 


Signed at the lower left, CH. JACQUE 
Collection of Epwarp M. Knox, New York, 1906 


CATALOGUE NUMBER FIVE 


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_ CATALOGUE NUMBER SIX 


VEEN G Ean aes 


By FELIX ZIEM 
FRENCH: 1821—1911 


FELIX ZIEM 


FRENCH: 182I—IQII 


VENICE 


On the right is the familiar mass of the ducal palace with the Campanile, 
and the water-front of the Riva, with numerous craft of all descriptions from the 
fishing boat to the peasant’s barca. On the left are various gaily decorated sail- 
ing craft, one of which, a prominent object in the composition, is evidently the 
Bucentoro heading the fleet of official vessels on its progress up the canal. A 
prominent object in the near foreground is a gondola with two oarsmen and a 
party of gaily dressed men and women. Jn the extreme distance is seen the en- 
trance to the Grand Canal, softened by the warm summer haze which covers the 
sky. 

Height, 24 inches; length, 35 inches 
Signed at the lower right, Z1EM 
Collection of Eowarp M. Knox, New York, 1906 


CATALOGUE NUMBER SIX 


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By JEAN CHARLES CAZIN- 


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FRENCH: 1840—1901 


JEAN CHARLES CAZIN 


FRENCH: 1840—I90I 


LA ROUTE 


A broad country road sweeps around from the foreground to the left, and 
disappears in the middle distance, beyond a roadside cottage overhung with tall 
trees. In the foreground on the right, a large church, with projecting roof, cor- 
ner buttresses, rude belfry and simple windows stands on a grassy bank, which is 
surrounded by a rough stone wall. To the right, in the immediate foreground, is 
a low, tiled building with green shutters, and near it is a country cart loaded with 
wood. The sky is completely covered with gray clouds, except near the horizon, 
where a narrow strip of sunlight shows through the trees. 


Height, 31 inches, length, 38 inches 
Signed at the lower right, J. C. Cazin 
Collection of E>owarp M. Knox, New York, 1906 


CATALOGUE NUMBER SEVEN 


CATALOGUE NUMBER EIGHT. 
LANDSCAPE WITH FISHERMAN 


By JULES DUPRE 
FRENCH: 1812—1889 


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JULES DUPRE 


FRENCH: 1812—1889 


LANDSCAPE WITH FISHERMAN 


Signed at the lower right, JULES DupRE 
Purchased direct from the Artist, by Mr. J. Gillingham Fell, of Philadelphia 
Collection of Mr. FELL 


From M. Knorpier & ComMPANny, 1912 


CATALOGUE NUMBER EIGHT 


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CATALOGUE NUMBER NINE 
LANDSCAPE WITH LAKE AND RUIN 


By JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—187¢ 


JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


LANDSCAPE WITH LAKE AND RUIN 


possibly an abbey, with two high towers at one end and a single tower remaining 
at the other end, through the bare openings of which show the gleams of a very 
white sky. Elevated above a group of houses, from which an arched bridge e: 
tends, it occupies the end of a spit of wooded land. This forms the left bank o 
lake that stretches from the bridge to the foreground. Here a man, wearing 
gray-blue blouse and straw hat with red ribbon, sits fishing, while near him 
girl stands knitting, beside a goat. She has bands of red ribbon in her dark ha 
and her trim figure is clad in a purplish slaty gown. The grassy foregrou 
starred with white and red flowers, is inclosed at the sides by the soft gray folia 
of willows. The trees on the right present a labyrinth of freely growing | aes 
while the two on the left are pollard willows. 


Height, 16% inches; width, 22 , inche 


Signed at the lower right, Corot 


Purchased from Corot by Mr. Rostanp, Administrator of the Comptoir d’Escompte of Pari s, 
1875 


Sold in 1875 to Mr. Georces Perit, of Paris 
Bought by a great Chilean collector in whose noted collection it remained until 1908, ike it was sen 
back for sale and as collateral, to the Comptoir d’Escompte of Paris and bought—a short tim 


after—by Mr. HERMANN SCHAUS, of New York 
after—by the late HERMANN ScHAUS, of New York 


CATALOGUE NUMBER NINE 


i: CATALOGUE NUMBER TEN 


LA SAULAIE 


By CHARLES FRANCOIS DAUBIGNY 
FRENCH: 1817—1878 


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CHARLES FRANCOIS DAUBIGNY 


FRENCH: 1817—1878 


LA SAULAIE 


The scene is translated into a delicate tonality of gray and brown, the gray 
tenderly suffused with rose, the brown with faint mellow green. Across the water 
on the left a woman stands watching two dull red cows that have stepped into the 
water and are drinking. Her black skirt makes a strong note against the grass, 
while the cool light strikes clearly on her white waist. Some little way back of 
her two tall slender poplars rise out of a mass of foliage, pale gray and dusky 
gray, relieved with a little olive and brown. To the right of this stands a single 
poplar, whence across the picture extends the farthest bank. It is edged with a 
line of willows that parts in the centre and shows a glimpse of faint lavender 
hills. Above them is a far-reaching sky of gray creamy vapor, faintly tinged with 
rose, in which float lazy wisps of rosy lavender and soft creamy clouds. Five 
birds are flying in the air and as many ducks appear in the front of the water. 
The latter gives back the tender hues of the sky, stirred with the darker tones re- 
flected from the vegetation. On the right of the water, where the reflections are 
dark olive, flecked with yellow, a punt is moored beside the bank. Here rises a 
clump of bushy willows, three of their stems showing white against the fluffy 
masses of olive-green and amber foliage. In front stands a slim birch with a sprin- 
kle of yellow leafage. On the right of it a vista of mossy grass, barred with deep 
green shadows, extends back te where three willow trunks reflect the light. 


Height, 1434 inches; length, 2614 inches 
Signed at the lower right, DAUBIGNY, 1863 
Collection of M. Ropgregr, Paris, 1891, No. 8 


“Cent Chefs-d’Ciuvre des Collections Francaises et Etrangeéres,” 
Gerorces Petit, Paris, 1892 


Collection of ALEXANDER YOUNG, London, 1906 
Collection of ‘THomAs AGNEW & Sons, London 
Illustrated in the “International Studio,’ 1906 
Collection of the late H. S. Henry, New York, 1910 


CATALOGUE NUMBER TEN 


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CATALOGUE NUMBER ELEVEN 
_ LE LAC—EFFET DE MATIN 


By JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


LE LAC—EFFET DE MATIN 


Beyond a screen of trees standing on a narrow foreground and extending their 
tops above the picture line, a silver-gray lake lies placid in a softened morning 
light—almost in a haze. The foreground and its leafage are a quiet green, a sil- 
ver birch lightens the mass of the tree trunks, and near the centre a woman is 
seated at the foot of a tree at the border of the water—a cow keeper, as one of her 
herd behind her indicates. Across the lake a hillside rises toward the left, under 


a light gray morning sky. 

Height, 17 inches, length, 25 inches. 

Signed at the lower left, Corot 

Painted between 1865 and 1870, and entered in Robaut as “Ville d’Avray—L’Etang vu a travers le 
feuillage (Une vachére assise au bord de l'eau sous les arbres) 

Exhibited at the Grorcrs Petit galleries, Paris, 1884 (private collection of Mme. Cassin) 

Collection of LA Marouis—E LANDOLFO CARCANO 


From M. Knorepiter & CoMPpANY 


CATALOGUE NUMBER ELEVEN * 


CATALOGUE NUMBER TWELVE 
ARLEUX PALLEUL—LE VIEUX PONT DE BRIQUES 


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FRENCH: 1796—1875 


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FRENCH: 1796—1875 


ARLEUX-PALLEUL—LE VIEUX PONT DE BRIQUES 


The bridge with its three arches crosses the middle distance. It is of stone 
with red brickwork inserted over the two left arches. Here above the parapet 
shows the blue back of a woman in a white cap, a clear bright accent against the 
masses of foliage, deep green relieved with gray and buff, in the rear of the bridge. 
To the right of this clump of trees a rolling country of sandy soil dips and rises, 
sprinkled with scrub, while on the left the bridge leads to a bright green knoll sur- 
mounted by cottages. Above the latter, springing from the lower level of the 
foreground, a single tree spreads its delicate boughs. ‘The sky is a gray atmo- 
spheric blue, ruffled with downy cloudlets of milky-white. At the foot of the 
tree in the long grass sits a woman wearing a lavender waist and white cap, while 
nearer to the front stands a black-and-tan dog. On the right of the foreground 
the scene is further enlivened by a group of figures. Iwo women are in conversa- 
tion, while a child carrying a baby stands between them. Another woman in a 
blue waist and bright yellow cap kneels as if picking flowers, and a man, wearing 
a crimson cap, is chopping the boughs off a “stick” of timber. 


Height, 20 inches, length, 3514 inches 
Signed at the lower left, Corot 
Collection of Oscar Stmon, Dinard, 1894 
Collection of VAN EEGAN, and exhibited in the Museum of Amsterdam, 1895-1907 
Described in “L’CEuvre de Corot” by Alfred Robaut and Moreau-Nélaton, No. 2025 
Collection of the late H. S. Henry, New York, 1910. 


CATALOGUE NUMBER TWELVE 


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UNDER THE WILLOWS 


By WILLEM MARIS 
; DUTCH: 1844—1910 


WILLEM MARIS 


DUTCH: 1844—I9IO 


UNDER THE WILLOWS 


Under a hazy sky of springtime is shown a broad expanse of lowland mead- 
ows, with scarcely a suggestion of slightly rising ground in the distance, appear- 
ing in a faint blue against the grayish horizon. ‘The meadows are in varied tones 
of green and through them comes a shallow brook, broadened in the immediate 
foreground, where it occupies all but the whole of the canvas. Here, in the centre 
of the composition, in the cool water and under the scant shade of a line of trees 
which edge the stream at the right, four cows stand in placid comfort. A white 
one tipped with black, facing away from the spectator, has raised her head to 
nibble at tender shoots of the young foliage. Another of like coloring, which ap- 
pears in different values in the higher light beyond the trees, is drinking of the 
waters at her feet between two other cows, one red and one black, all facing to the 
left, where, out of the water and heedless of them, another cow pokes her nose 
through a break in a farm fence. The day is quiet, with just a trace of motion in 
the slow flight of a bird or the drift of an occasional leaf. 


Height, 23% inches, length, 44 inches 
Signed at the lower left, WILLEM Maris 
Exhibited at the Dutch and French Exhibition, No. 181, Edinburgh, 1886, 


and engraved in the catalogue 
Collection of Witt1aM MytLin 


Collection of the late THomas McDouaat, of Dalhousie Castle 


CATALOGUE NUMBER THIRTEEN 


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CATALOGUE NUMBER FOURTEEN 
LE CAVALIER DANS LA CAMPAGNE 


By JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


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JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


LE CAVALIER DANS LA CAMPAGNE 


On rising land to left of centre a group of trees stands, above a foreground | 
grown with wildflowers. ‘Through a depression at the centre of the foreground a 
solitary horseman on a white horse pursues his way toward a sheet of water shim- 
mering in the distance. He has paused to converse with a couple of peasant wo- 
men, one of whom kneels at a clump of flowers. On a high background to left, 
hoe the water, a group of rambling buildings extends over a hillside. ~ 

Height, 22 inches, length, 29% inches 
Signed at the lower left, Corot 
Painted at Ville d’Avray 
Sold by Corot to M. Leroy, 1874 
Collection Faure, Paris, 1878 
Collection of ALEXANDER DuMAN, Paris, 1892 
Collection of EuGENE Lyon, Brussels, 1903 
Collection of J. W. Simpson, New York 
Illustrated in Robaut, Vol. III, page 382, No. 2423 
Recorded in “Corot and Millet” by Gustave Geffroy and Arséne Viocay ; 
From M. KNoepLer & Company, 1912 a ; 


CATALOGUE NUMBER FOURTEEN 


_ CATALOGUE NUMBER FIFTEEN 
BOSQUET D’ARBRES 


By THEODORE PIERRE ETIENNE ROUSSEAU 
_ FRENCH: 1812—1867 


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THEODORE PIERRE ETIENNE ROUSSEAU 


FRENCH: 1812—1867 
BOSQUET D’ARBRES 


In this fine example of Rousseau’s art he has shown us his great analytical 
skill at its highest, the details of herbage, of trees, even of rocks and stones, being 
executed with the utmost fidelity. It is withal a most artistic conception, show- 
ing in every brushmark the hand of him whom all his contemporaries acknowl- 
edged as master of them all. ‘Through the level countryside a narrow river wends 
its placid way. A few cows crop the sparse herbage which grows upon the rock- 
strewn meadow or drink from the many pools which bejewel the foreground. In 
the middle distance a few trees grow, outlined against the sky, making the absolute 
flatness of the landscape, if anything, more accentuated by their presence. The sky 
is a grayish-blue, largely overspread by the filmiest fleecy white clouds, the azure 
of its brightest spots being repeated in the waters of the pools. 


Height, 16% inches; length, 25 inches 
Signed at the lower left, TH. RoussEau 
Purchased from WiLLiAM ScHaus, 1881 
Collection of the late ‘THERON R. BUTLER, New York, 1910 


From M. Knorpiter & Company, 1910 


CATALOGUE NUMBER FIFTEEN 


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CATALOGUE NUMBER SIXTEEN 
LAKE NEMI 


By JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


LAKE NEMI 


On the bank in the foreground a girl sits, with her staff across her lap, watch- 
ing her cows that are standing in the water some distance back on the right. The 
artist has given to the figure of this cowherd, as she leans her weight on one arm, 
the hand planted on the grass, and gazes over the water, the suggestion of a classic 
pose and dreamy feeling that seems atune with the mingling of naturalism and 
classic serenity in the composition and sentiment of the landscape. Over the 
water, cooled by the greenish gray reflections of the surrounding vegetation, the 
light floats softly toward the girl from the central distance. Here a low hill 
forms a lavender silhouette against the rosy suffusion of the lower sky. The latter, 
as it mounts, pales to a warm ivory and thence to ivory touched with blue, passing 
up into a faint dove-gray, barred with dipping strata of feathery tufts of white. 
Its tremulous expanse is bounded on the right and left by the wooded hills of the 
middle distance that form a V with the horizon, where a pile of buildings nes- 
tles at the foot of the left slope. The color of these hills is a greenish-gray. 
Pricked out in front of the one on the left is the dainty yellow, green and brown 
leafage of a tree with a twisted interlacement of boughs, while on the right of the 
water rises a white birch trunk with a few tiny limbs frilled with leaves. ‘The 
cows beyond show spots of dull red and black, while the girl’s figure, in a yellow- 
ish drab skirt with a touch of blue on one sleeve and a golden-white kerchief, 
makes a piquant note in the foreground. 


Height, 21% inches; length, 31% inches 
Signed at the lower left, Corot 
Collection LivEQUE, Paris, 1907 


eae in “L’CEuvre de Corot” by Alfred Robaut and Moreau-Nélaton, No. 1638, under title of 
“Solitude” 


Collection Boussop, VALADON & Co., Paris 


Collection of the late H. S. HENry, New York, 1910 


CATALOGUE NUMBER SIXTEEN 


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CATALOGUE NUMBER SEVENTEEN 
THE HAYSTACKS 


By JEAN FRANCOIS MILLET 
FRENCH: 1814—1875 


JEAN FRANCOIS MILLET 


FRENCH: 1814—1875 


THE HAYSTACKS 


At a little distance from the hamlet, whose red and green tiled roofs are seen 
at the right, three haystacks have been erected on the level farm land, over 
which their fat bulk throws shadows. In the shade of one of them a red-capped 
shepherd is leaning on a stick, and here and there about him sheep are grazing. It 
is a Barbizon plain motive. Overhead a black, menacing cloud is being driven 
by the wind, threatening a violent storm, but all the landscape in the picture is in 
a bright, diffused light. 

Height, 33% inches, length, 43% inches 
Signed lower right, J. F. MILuet 
Purchased from the Artist by Mr. Frep HartTMANnn, of Paris 
HARTMANN Collection, Paris, 1881. Engraved by Champollion 
J. F. Millet Exhibition, Paris, 1887 (under the title “L’Automne”’), No. 55 
Centennial Exhibition French Art, Paris, 1889 
“Cent Chefs-d’CEuvre des Collections Francaises et Etrangéres,’ Grorcrs Perit, Paris, 1892 
Collection of MmMr. SAMSON-DAVILLIERS 


From M. KNorpter & ComMPANY 


CATALOGUE NUMBER SEVENTEEN 


: ee, Ry ea Be j _ CATALOGUE NUMBER EIGHTEEN 
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LA CHARRETTE DE GRES 


By JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


JEAN BAPTISTE CAMILLE COROT 
FRENCH: 1796—1875 


LA CHARRETTE DE GRES 


An unusual Corot, combining the charm of tree and sky with an incident of 
every-day peasant life such as is very infrequently found among the artist’s work. 
In the centre of the picture, and the most prominent feature of the composition, 
stands a huge tree, with twisted trunk and great limbs which have spread their 
shade for many a decade. The dense mass of its foliage obscures the sky, the deep 
green of the leaves shading off, as the lighter branches and twigs are reached, into 
feathery bunches of bluish-green through which filters a tender silvery light. 
Other smaller trees grow on the right, and a tangle of undergrowth fills the spaces 
between the trunks. On the left, the side of a low hill has been broken away for 
building stone. A workman, buried to his knees, is busy at it, and a high two- 
wheeled cart, heavily laden with blocks of stone and drawn by two horses, is just 
being driven away. Beyond, the low hills sweep to the right, and the gleam of a 
large body of water catches the eye. The sky is a light blue, covered with gray 
clouds, from between which the sun casts a pallid light, falling full upon the cart 
and the immediate surroundings and making ill-defined shadows over the rest of 
the picture. 

Height, 32 inches, length, 39% inches 
Signed at the lower left, Corot 
Collection of the late JoHN T. Martin, New York, 1909 
Exhibited at l’Ecole des Beaux-Arts, 1875, No. 68, by Docror CAMBAY 
Described in “L’C&uvre de Corot” by Alfred Robaut and Moreau-Nélaton, 2422 


CATALOGUE NUMBER EIGHTEEN 


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CATALOGUE NUMBER NINETEEN 


LES BAIGNEUSES DES iLES BORROMEES 


By JEAN BAPTISTE CAMILLE COROT 
; FRENCH: 1796—1875 


JEAN BAPTISTE CAMILLE COROT 
FRENCH: I1796—1875 


LES BAIGNEUSES DES ILES BORROMEES 


The spectator is looking against the light upon waters in gentle motion, 
marked by the shadows of tree trunks, and on the left by those of shrubbery, and 
on the right by the shadow of a large gray boulder. At the trees, near the centre 
of the stream, in the foreground, whose roots are overflowed, two nude women 
bathers cling to the trunks—one bather standing knee-deep in the shallows, the 
other partly suspending herself from a vine branch to touch the water, while hav- 
ing a foothold on the tree. In the background at left, buildings on a hillside. 


Height, 3134 inches; width, 22% inches 


Signed at the lower left, Corot 

Bought from Corot by M. Martin and sold by him to HEnrt Rovart 

In the Memorial Exhibition of Corot’s Work, at the Ecole des Beaux-Arts, 1875, No. 45 
Corot Exhibition, DURAND-RUEL galleries, Paris, 1878, No. 105 

Reproduced in Robaut, No. 1653, vol. III, page 154 


From M. Knorpirr & Company 


CATALOGUE NUMBER NINETEEN 


—— 


THE WILLOW TREE 


By JOHN (OLD) CROME 
ENGLISH: 1769—1821 


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JOHN (OLD) CROME 


ENGLISH: 1769—1821 


THE WILLOW TREE 


The composition is dominated by a group of trees—a birch to the left, and 
in the centre two large willows—rising on the banks of a little brook which al- 
most fills the foreground. At the foot of the willows is a bit of fence beyond a 
rustic bridge. On the right bank of the stream, a peasant on a pony is talking 
with a peasant woman, and beyond them the distant landscape shows. The scene 


is bathed in summer sunshine, the blue sky being almost covered with soft white 
clouds. 
Height, 51 inches; width, 4034 inches 


Exhibited at Winter Exhibitions of Old Masters at Burlington House in 1876 (No. 280 of the 
catalogue), and in 1891 (No. 33) when owned by Mr. Grorcr Hotes. 


Sale (about 1870) of the best known collection of pictures of the Norwich School, the SHERRINGTON 
Collection (bought by Mr. Grorcr Hoimss,from whom it came into Mr. BorpEN’s Collection) 


Exhibitions of Old Masters, M. KNorpurr & Company, New York, 1912 


Collection of M. C. D. Borpen, American Art Association, 1913 


CATALOGUE NUMBER TWENTY 


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GOOD COMRADES 
By JOSEF ISRAELS 
DUTCH: 1824—1911 
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DUTCH: 1824—I9QII 


GOOD COMRADES 


A fisherman, left in charge of the baby, is captivating its interest with a toy 
soldier. The child is seated in one of the baby-chairs characteristic of a Dutch 
household; her head, encased in a rosy cream cap, showing against a blue scroll- 
work of the chair-back. Her hands are laid on the tray in front of her, as she eag- 
erly watches the red and blue figure, which is held erect by the fisherman. The 
latter wears a silvery blue woolen cap and jersey, the short sleeve of which dis- 
plays a red undersleeve. His figure, seen to a little below the knee, leans forward 
in an armchair, so that his face is in profile, looking toward the right. Behind the 
child’s seat, on the right, is partly visible a chair, on which lies some knitting. 
The wall of the room is of dark grayish-olive tone, broken with silvery-lights. 


Height, 43% inches, length, 59% inches 
Signed low down on the side of the child’s seat, JosEF IsRAELS 
The Salon, 1877, No. 1905 
Collection of GrorcE I. SENEy, American Art Association, 1891, No. 298 
Collection of P. A. B. WipENER 


From M. KnorpLer & Company 


CATALOGUE NUMBER TWENTY-ONE 


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_ LE PARC AUX BCEUFS 


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By NARCISSE VIRGILE DIAZ DE LA PENA 
FRENCH: 1808—1876 


NARCISSE VIRGILE DIAZ DE LA PENA 


FRENCH: 1808—1876 


LE PARC AUX BCEUFS 


A little pool occupies the centre of the foreground, which is cleared of trees 
and tufted with scrubby grass and bunches of foliage sprouting from the stumps. 
Farther back on the right stand three handsome oaks, whose white bark catches a 
brilliant light, while their tall masses of yellow and green leafage spread finely 
against the sky. The latter is a grayish-blue, interrupted with a few puffs of white 
cloud and overarched with a canopy of dove-gray vapor. The vista of level fore- 
ground terminates in a horizontal band of trees, the advance line of the forest. 
Towards the left appears a signboard on a post; and near this is a slanting tree 
with a succession of curving twisted boughs that overhang an open gateway. 

Height, 32% inches; length, 4414 inches 
Signed and dated lower left, N. Diaz, ’69 
Collection of BARON DE HAUPE 
Collection of M. BoucuEron, Paris 
“Cent Chef-d’Giuvres,” exhibited 1883 
Collection of Paintings, AMERICAN ART ASSOCIATION, 1892, No. 1 53 
Collection of ANTHONY Roux, Paris 


From M. KnorpLer & Company 


CATALOGUE NUMBER TWENTY-TWO 


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‘CATALOGUE NUMBER TWENTY-THREE 
-LA CHARRETTE DE FOIN > 


By CONSTANT TROYON 
FRENCH: 1810—1865 


CONSTANT TROYON 


FRENCH: I810—1865 


LA CHARRETTE DE FOIN 


The lower sky is filled with grayish vapor, which grows whiter toward the 
zenith and shows intervals of blue. There is a stir of breeze, but the light, though 
veiled, is warm and gives a liquid quality to all the hues. In the foreground lies a 
stick of timber, at the end of which a brown dog and a white one stand facing each 
other. Beyond them a stream of shallow water crosses the picture, its surface 
sprightly with reflected tints. A white cart-horse, a blue cloth edged with red on 
its back and a blue coat hanging over the flap of its collar, is standing in the water. 
The wagoner is seen behind it, dressed in blue blouse and golden brown breeches. 
He holds up a stick as he turns the horse with its head down stream, so that two 
oxen which are yoked behind it may have free way with the hay-cart which they 
are dragging down the little slope that leads to the water. One of the oxen is a 
pale dun, its yoke-mate white with redddish-brown head and neck. The two 
wheeled cart is piled high with hay that glistens in various tones of green. Be- 
hind the cart follows a man in shirt sleeves, with a fork over his shoulder, accom- 
panied by a woman in a brownish plum dress, white cap and apron, and a boy 
who is frisking with a dog. Behind this group the meadow recedes to dull pur- 
plish hills along the horizon, which appear nearer on the right and become green. 
The scene is inclosed on the right by the end of a thatched barn, its drab walls 
rising close beside the stream. Near it stand four slender trees with delicate leaf- 
age that grow out of a mass of deep green shrubbery. 


Height, 3034 inches; length, 44 inches 
Signed at the lower left, C. ‘TRoyon 
Collection of Prince Worouzorr, Florence 
Collection of ALEXANDER YOUNG, London, 1906 


Illustrated in the “International Studio,’ November, 1906 
Collection of the late H. S. HENry, New York, 1910 


CATALOGUE NUMBER TWENTY-THREE 


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LE TEVERON E, SOUVENIR D’ITALIE 


By HENRI JOSEPH HARPIGNIES 
FRENCH: 1819—1916 ’ 


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FRENCH: 1819—I916 


LE TEVERONE, SOUVENIR D’ITALIE 


A narrow river, its crystal waters sparkling in the brilliant sunlight, winds 
through a luscious landscape at the foot of a noble group of trees of heavy foliage. 
The nearer low bank in the foreground has taken a deep emerald hue under the 
umbrageous canopy, while across the stream the higher bank slopes to a broad 
meadow bathed in sunshine, and revealing tender greens, with suggestions of light 
yellows, in its luxuriant vegetation. Fleecy clouds of rounded contours float in a 
turquoise sky over hillside and meadow and the blue summits of distant mountains. 


Height, 48 inches; length, 59 inches 
Signed at the lower right, HARPIGNIES, 1898 
The Salon, 1891, No. 1001 


Collection of J. Staats Forses, London 


From M. Knorpier & Company 


CATALOGUE NUMBER TWENTY-FOUR 


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GLEANERS, PRES DES MEULES 


By LEON LHERMITTE 
FRENCH: 1844—1925 | 


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LEON LHERMITTE 


FRENCH: 1844—I925 


GLEANERS, PRES DES MEULES 


Golden the harvest, and golden the fields after it, through which the glean 
wend their way. Three of them, women, are at work on the left, two bendin; 
gather the precious leavings of grain, one standing, a bundle of sheaves under 
arm, and looking toward the figure of a sleeping man on the right—a harve 
exhausted, who in the heat of the day has thrown himself down upon a bundl 
hay or grain which lies in the grateful shadow of a haystack. Back in the middle 
distance rise other stacks, a rich golden tone, with contrasting transparent sha 
ows, and in the background at the left low green encircling hills are obser 
under a fair summer sky of robin’s-egg blue and mauve-white cloud billows. 


ace 


Height, 3534 inches; length, 5134 inches 


Signed at the lower right, L. LHERMITTE, 1912 
The Salon, 1912 


From M. KnoepLer & CoMPANY 


CATALOGUE NUMBER TWENTY-FIVE 


.. CATALOGUE NUMBER TWENTY-SIX 
INTERIOR AT SCHEVENINGEN 


By BERNARDUS JOHANNES BLOMMERS 
DUTCH: 1845—1914 _ ; 


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BERNARDUS JOHANNES BLOMMERS 


DUTCH: 1845—I1914 
INTERIOR AT SCHEVENINGEN 


At a window within a cottage room two young peasant women and a small 
girl are grouped about a table eating a frugal meal. The two elder wear quaint 
headdresses. She at the right is seated, her knitting in her lap where her left hand 
rests still holding on to it. Her right elbow rests on the table, and with her right 
hand she holds a cup she has just taken from her lips, which, still open, give to 
her features the suggestion of a listless smile. Across the table, at the opposite side 
of the window casement, her companion stands, a loaf of bread held against her 
breast with her left arm. She has paused in the act of cutting a thick slice and is 
gazing at the floor in vacuous contemplation, while the child, who has been munch- 
ing bread, looks wistfully up at her. A deep blue spread covers the table and 
across it are lying the dried herring of the lunch. The sunlight throws the shad- 
ows of the window frames upon the curtains, and falling on the red carpet bright- 
ens this cozy corner of an humble room. The seated girl wears a brown waist 
and a bluish-green skirt, the one standing, a rose waist and brown striped skirt, 
while the child has a red skirt and striped overdress. Against the wall is seen a 
corner of the china cupboard. 

Height, 43 inches; width, 3514 inches 


Signed at the lower right, B. J. BLOMMERS 


Purchased from the late HERMANN SCHAUS 


CATALOGUE NUMBER TWENTY-SIX 


CA TALOG UE NUMBER TWENTY-SEVEN 
HOLLAND MEADOWS 


By ANTON MAUVE 
DUTCH: 1838—1888 


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DUTCH: 1838—1888 


HOLLAND MEADOWS 


The picture, which remained for a long time in the studio of the artist, < 
was considered by him to be one of his best productions, shows a characteri 
scene in the broad plain of Holland under a moist sky full of low-hanging s 
mer Clouds. In the foreground a group of spotted cows reposes in the su 
after a morning’s browse on the rich grass of the meadow. In the middle dis 
on the left is a clump of trees overhanging the entrance to a pasture beyond. 
wide, level meadow which stretches away to a low horizon in the extreme di 


is dotted with cattle, and among the trees on the sky line on the right are su 
tions of a tree-shaded village. . 


Height, 34% inches, length, 54 
Signed at the lower right, A. Mauve t. Be 
Collection of Daviw H. Kno, Jr., New York, 1905 


CATALOGUE NUMBER TWENTY-SE VEN 


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FRENCH: 182I—I9QII 


KIOSQUE DES EAUX DOUCES 


A small pool in the foreground reflects the white stucco walls of a handsome 
fountain. Its square structure curves out at the top into wide eaves, in the hollow 
of which are drowsy red-gold shadows. It is surmounted by a white central cu- 
pola, and four smaller ones. A figure in a geranium-colored jacket and brown 
skirt stands in the act of filling a blue pitcher. Other gaily dressed figures are dis- 
posed on the right, the centre of the group being a hooded wagon, decorated with 
yellow mouldings, to the pole of which are attached two white oxen. It appears 
to be a harem carriage, and the ladies have alighted and are seated on the ground. 
At the back of this vivacious scene is a grove of golden-brown and yellow trees, 
beyond the trunks of which appears a horizontal line of deep blue water. Its fur- 
ther bank is edged with the rosy yellow buildings of a city, the sky line of which, 
on the right, is interrupted by a towering mass and two minarets, which glisten 
white against the sky. The latter is bright robin’s-egg blue, streaked with lazy 
layers of white and cream. 

Height, 3214 inches, length, 51 inches 


Signed at lower right, Z1EM 
Collection of BARON DE VILLARS 
Collection of P. A. B. WIDENER 
From M. Knorpier & Company 


CATALOGUE NUMBER TWENTY-EIGHT 


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CATALOGUE NUMBER TWENTY-NINE 
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BULGARIAN SMUGGLERS 


By ADOLPH SGHREYER 
_ GERMAN: 1828—1899 


ADOLPH SCHREYER © 


GERMAN: 1828—1899 


BULGARIAN SMUGGLERS 


On a rough rocky eminence a band of Bulgarian smugglers, with their shaggy 
unkempt horses, have halted on one of their unlawful excursions. A strong gale 
is blowing and the horses are huddled together for shelter, while two of the smug- 
glers are seated on the rocks nearby in attitudes of patient expectation. On the 
right of the scene, beyond a pony scrambling breathlessly to the summit, is a view 
over a sunlit plain, with a dimly seen collection of buildings, evidently the first 
frontier town. 

Height, 33% inches, length, 55 inches 


Signed at the lower right, AD. SCHREYER 
Purchased from Witu1amM ScHAus, New York, 1881 


Collection of the late HzeBER R. BisHop, New York, 1906 


CATALOGUE NUMBER TWENTY-NINE 


CATALOGUE NUMBER THIRTY 
RETURNING FROM MARKET 


By EMILE VAN MARCKE 
FRENCH: 1827—18g0 


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EMILE VAN MARCKE 


FRENCH: 1827—1890 


RETURNING FROM MARKET 


In the foreground a sturdy spotted bull, ring in nose, is moving with heavy 
dignity along a rough seaside road, followed by a cow and accompanied by a flock 
of bleating sheep. Just behind this group of animals, which is in a strong effect 
of sunlight, is seen the farmer’s horse with panniers, upon which sits his daughter. 
The farmer himself trudges nearby, struggling to keep his hat on his head in the 
heavy gale. In the middle distance is a small bay of the sea, with flat-topped 
hills beyond, and the water is roughened by the strong wind, which drives a mass 
of lowering clouds across the horizon and over the hilltops at the left. 


Height, 38 inches; length, 56 inches 


Signed at the lower left, EM. VAN MarcKE 
Collection of Epwarp M. Knox, New York, 1906 


CATALOGUE NUMBER THIRTY 


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A CALM ON THE SCHELDT 


By PAUL JEAN CLAYS 
BELGIAN: 1819—1900 


PAUL JEAN CLAYS 
- BELGIAN: 1819—1900 


A CALM ON THE SCHELDT 


Near the centre of this picture two vessels are lying close together. 
hermaphrodite brigs, and their sails are flapping lazily in the breeze. T 
right is a sloop, with bare mast; to the left is a village, with a windmill in the 
tance; near the shore is a poe with a square hull; and in the foreground, to 
left, are small fishing boats with fishermen. 


Height, 31% inches; length, 54 | inche 


Signed at the lower right-hand corner, P. J. CLays 
Collection of the late CHARLES T. YERKES, New York, 1910 


CATALOGUE NUMBER THIRTY-ONE 


et ee 
ota at ae 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


BLOMMERS, BERNARDUS JOHANNES 
Interior at Scheveningen 


CAZIN, JEAN CHARLES 
La Route 


CLAYS, PAUL JEAN 
A Calm on the Scheldt 


COROT, JEAN BAPTISTE CAMILLE 
Arleux-Palleul—Le Vieux Pont de Briques 
Chateau Thierry 
Landscape with Lake and Ruin 
Lake Nemi 
La Charrette de Grés 
Le Lac—Effet de Matin 
Les Baigneuses des lles Borromées 
Le Cavalier dans la Campagne 


CROME, JOHN (OLD) 
The Willow Tree 


DAUBIGNY, CHARLES FRANCOIS 
La Saulaie 


DIAZ DE LA PENA, NakcIssE VIRGILE 
Le Mare aux Chénes 
Le Parc aux Beeufs 


DUPRE, JULES 
Landscape with Fisherman 


HARPIGNIES, HENRI JOSEPH 
Le Teverone, Souvenir d’Italie 


ISRAELS, JosEF 
Good Comrades 


CATALOGUE 
NUMBER 


26 


20 


10 


NW 


24 


a 


JACQUE, CHarLEs EMILE ie 
In the Forest of Fontainebleau 


LHERMITTE, Léon 
Gleaners, Prés des Meules 


MARCKE, EMILE VAN 
Returning from Market 


MARIS, WILLEM 
Under the Willows 


MAUVE, ANTON 
Holland Meadows 


MILLET, JEAN FRANCOIS 
The Haystacks 
The Retreat from the Storm 


ROUSSEAU, TH&0p0RE PIERRE ETIENNE 
Bosquet d’Arbres 


SCHREYER, ADOLPH 
A Halt in Wallachia 
Bulgarian Smugglers 


TROYON, CONSTANT 
La Charrette de Foin 


ZIEM, FELIx 
Kiosque des Eaux Douces 
Venice 


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4, 


The AMERICAN ART ASSOCIATION - INC: 


Designs Its (Catalogues 
and Directs All Details of Illustration 
Text and Typography 


x 
PHOTOGRAVURE PLATES BY A. W. ELSON & CO., BOSTON 
N 


COMPOSITION 7 PRESSWORK é BINDING 
BY THE LENT & GRAFF CO., NEW YORK 


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